11 Traditional African Clothing That Identifies African Tribes.

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11 Traditional African Clothing That  Identifies African Tribes At A Glance  If you've ever attended a traditional African  event, you'll notice that one of the first things   you'll notice is the elegant and colorful  display of traditional African clothing.   This frequently adds color and  elegance to already vibrant scenes.   Traditional African clothing is one of the most  visible if not the most visible representations   of the continent's rich cultural heritage  and diversity. Different ethnic groups on the   continent have distinct traditional African  clothing. These clothes are mostly worn for   special occasions, traditional festivals, and  special events. However, some innovative designers   are now fusing traditional African clothing with  other materials to create one-of-a-kind designs.   As a result, some previously traditional African  garments are becoming commonplace. Stay with us   on Africa Reloaded As we take you through 11  traditional African clothing that identifies   African Tribes at a glance. Please make sure  to like and subscribe to Africa Reloaded.  11. Toghu/Atoghu The Toghu or Atoghu   is a traditional costume worn by the Bamileke  people of North-Western Cameroon. Traditionally,   only men and women of royalty wore the Toghu as a  symbol of traditional superiority over commoners.   It is also a traditional outfit for investitures,  coronations, and other festivals.

Toghu's design   is embroidered with vibrant patterns. It's made  of a velvety black fabric. Toghu has gone global   since the turn of the century, as more African  Americans trace their ancestors back to Cameroon.  10. Isiagu The Igbo people of South-East Nigeria are   the originators of the Isiagu. 'Isiagu' literally  means 'the head of a leopard.' The cloth, however,   has the head of a lion, which will surprise you.  The lion, it seems, has taken over the leopard's   totem. The Isiagu combines a silk fabric with a  lion's head emblazoned in a specific pattern. It   is a long, loose-fitting top that is typically  worn over black pants or knitted wrappers tied   around the waist. Surprisingly, the Isiagu is also  regarded as a status symbol among Igbo men.

It is   worn for formal occasions such as coronations,  traditional meetings, and Chiefs' funerals.  9. Isidwaba Isidwaba is a traditional Zulu dress. Isidwaba,   also known as Isikhakha, is a traditional  Southern African skirt worn by betrothed or   married women. It is typically made of genuine  leather, which can be cowhide or goatskin. The   lady dresses it up with bright mat-like fabric.  Since its inception in the nineteenth century,   Isidwaba has retained its form and design among  the Zulus. Traditionally, fathers of brides   give their daughters Isidwabas from the cow the  bride receives during her coming-of-age ceremony.  8. Dashiki Dashiki is an African   traditional garment worn by the Ewe people of  Ghana.

They are also brightly colored garments   that cover the upper body. Dashiki is a Unisex  loose-fitting shirt with an embroidered V-shaped   collar that can be long or full-sleeved. They  also come in a variety of colors and shapes.   Ghanaians typically wear Dashikis with  drawstring pants for both formal and   informal occasions. Although they  were once popular in Ghana and a few   other West African countries, Africans  and Blacks in the West now wear them.  7. Shuka Shuka is a traditional African garment worn by the   Maasai people of Tanzania and Kenya. The 'African  Blanket,' as it is commonly known, is red with   black stripes. Prior to the Scottish colonization  of Tanzania and Kenya, high-ranking community   members wore Shuka as a traditional garment. It  is now popular as urban wear as well.

Workers   wear a variation of this traditional attire to  their workplaces. Originally, only the Maasai   wore the Shuka. However, this traditional African  cloth is gaining popularity all over the world.  6. Djellaba A jillaba,   also known as a Djellaba, is a long, loose-fitting  unisex robe. It is typically full-sleeved and is   popular in North Africa's Maghreb region. Wool  has traditionally been the primary material used   in the creation of djellabas.

However, lightweight  cotton djellabas have recently become fashionable.   Djellabas frequently sweep the ground.  Lightweight variants, on the other hand,   are frequently slimmer and shorter. For  religious festivals and other occasions,   men wear light-colored Djellabas with  an Arab fez hat and babouche footwear.  5. Habesha Kemis Habesha Kemis is now a popular style in   Africa. The Habesha Kemis is traditional African  clothing worn by the Habesha women of Addis Abeba,   Ethiopia. Habesha Kemis is a robe that  typically extends from the neck to the ankles.   Ethiopian and Eritrean women look stunning  at formal events and on vacation. It is now   available in a variety of styles,  including short and long sleeves.   It is usually made of cotton fabric  and comes in grey, beige, or white.  4.

Kanzu Kanzu dresses are worn   on special occasions. Kanzus are white or cream  African traditional garments worn by men in the   Great Lakes region of Africa. Burundians,  Congolese, Ethiopians, Kenyans, Malawians,   Rwandans, Tanzanians, and Ugandans are among  them. The English call it a tunic, while the   Arabs call it a thawb. It is particularly  fashionable in Uganda, where men wear it   to weddings and festivals. "Men of culture" wear  the Kanzu to project authority and sophistication.  3. Boubou The Boubou is a traditional Senegalese   robe worn by both men and women throughout Africa.  It is usually sewn from a single piece of fabric   and is about 150cm wide with varying lengths  depending on the wearer's height and preference.   There's also the grand Boubou, which uses 300  cm-long fabrics and reaches to the ankles.   Designers traditionally make boubous by folding  the fabric in half, cutting a neck opening,   and sewing up the sides halfway up to create  flowing sleeves along the sides.

The female   neck is rounded and large. Men, on the  other hand, have long, V-shaped beards.  2. Iro ati Buba Iro and Buba (also known as   Iro ati Buba) are Yoruba women from Nigeria. The  original dress is made up of five pieces. The Iro   is a large wrapper that is tied around the waist.  A buba is a loose blouse worn on the upper body.   Gele is a head tie worn by Nigerian  women all over the world. The Pele   is a short fabric that is tied around the  waist on top of the Iro. The Iborun is a   scarf worn over one's left shoulder.  Trendsetters, on the other hand,   are abandoning the Pele and Iborun in favor of  other fabrics such as lace, cotton, or chiffon.  1.

Kente Kente is a type of unisex   traditional African clothing that originated  among Ghana's Ashanti and Ewe people. It is   made of silk and/or cotton cloth strips that are  designed to fit the patterns of the cloth. Despite   technological advances, native Ashantis continue  to weave Kente clothes by hand. Ghanaian royals   used to wear the fabric in a toga-like fashion.  However, due to the popularity of Kente patterns,   Kente print has grown in popularity in Asia  and the West. Fortunately, you no longer need   to travel to Ghana to obtain kente fabric. You  can get kente fabrics no matter where you live.  Fabrics used to make traditional African clothing  vary by region. While Sahelian Africans prefer   cotton Boubous, Northern Africans naturally  make silk Boubous. African clothing is made   primarily of silk, cotton, and chiffon. The  preferred fabric is sometimes determined by   what is readily available in each region. Please  like and subscribe if you enjoyed the video..

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Key & Peele - Killing an African Warlord

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COMMANDER BEAUJOLAIS! OUR FORCES HAVE BEEN DEVASTATED. THE ENEMY IS AT THE EDGE OF THE VILLAGE. THERE ARE NOT MANY OF US LEFT. SHOULD WE SURRENDER? - YOU MAY SURRENDER, JENGO. BUT I AM AFRAID THAT IS A LUXURY I CANNOT AFFORD. YOU HAVE NO IDEA WHAT THEY DO TO WARLORDS. IF THEY CAPTURE ME, THEY WILL TORTURE ME FOR WEEKS. THAT IS NO WAY TO GO. I WANT YOU, MY MOST TRUSTED SOLDIER OVER THE AGE OF EIGHT, TO TAKE MY LIFE. THAT IS MY FINAL ORDER. AAH! OH! OH! OH! OW! OW! NO, DO--NO! AAH, STOP, STOP! WHAT THE HELL ARE YOU DOING? HAA! - I WAS TRYING TO KILL YOU, SIR. - NOT WITH THIS! THERE'S A GUN IN THE DRAWER! AAH! - OH.

SO SORRY. OKAY. - AMAZING. YOU MISSED EVERY VITAL ORGAN, JENGO. OH... - FOUND IT. - ALL RIGHT, NOW KILL ME, JENGO. HURRY, PLEASE! NOT IN THE KNEE! - I THOUGHT YOU MIGHT WANT AN OPEN CASKET. - YOU ARE AN IDIOT! - DON'T SAY THAT. I DID TRY MY BEST. - SHOOT ME IN THE HEAD, YOU IMBECILE! GOD.

- GOOD-BYE, COMMANDER. YOU SORRY-ASS PIECE OF SH-- - DID YOU JUST INSULT ME AS YOU WERE ABOUT TO FIRE? - OH, WELL, YOU HAD INSULTED ME EARLIER. I TH--I THOUGHT YOU WOULD BE DEAD. AH, OOH. SO SORRY. - OW! OW! OW! OW! STOP--STOP IT! WHAT THE HELL ARE YOU DOING? - THE GUN IS EMPTY. WOULD YOU LIKE I STAB YOU AGAIN? - NO, NO, NO! PLEASE! JENGO, THERE ARE BULLETS! THEY ARE OVER THERE! - OKAY. - JENGO, PLEASE HURRY! I AM IN AGONY! OW! WHAT THE BLAZES, MAN? - I THOUGHT I COULD KILL YOU VERY QUICK BY HITTING YOU WITH THAT BIG COOKING POT. - OH, MY GOD, WOULD YOU PLEASE, I MEAN, PLEASE GET IT OVER WITH? - I DID NOT FIND THE BULLETS. - WHAT? - BUT BETTER. BOILING HOT WATER. - WHAT ARE YOU GOING TO DO WITH-- I SURRENDER! I AM THE GENERAL DOMINICK BUJUNE! - COMMANDER! DON'T GO! THEY'LL TORTURE YOU!

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i-D Meets: The Creatives Leading Dakar's Fashion Scene

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It is our time, and it's been our time for a long time, so now we need to own it. Chanel is coming to Dakar, and that's a sign that we are out there and actually, we don't even have to go to them. They're coming to us. Being in it, being in, like, submerged in the culture, the energy is just different, bro. I always say that Africans are born with a zest for life and they have art in their blood. So it's innate.

Senegalese culture is all about celebration. I mean, we celebrate everything and anything. Senegal is not, like, the biggest economy country in Africa, but is one of the most attractive country fashion-wise. There's very rarely that notion of being overdressed. When you present yourself to a celebration or wherever, it's really meaningful for people to be dressed and dressed well. My name is Selly Raby Kane. I'm a fashion designer and filmmaker. I'm from Dakar. I wanted to be a fashion designer since I was a little kid. That's the only word that I knew. Being a designer is what I wanted to do. Opening the shop in Dakar, I think it was late 2017, and it was amazing. I wanted that black and white thing happening. I commissioned one of my artist friend to just write some, like, automatic thoughts and the space he was in at the time.

Every Senegalese woman you meet is a fashion designer. We buy clothes, but most of the time we actually get our clothes made and everyone goes to the tailor at the corner of the street. And it's the culture of how things are made. That's how I learnt about fashion. My name is Diarra Bousso, and I am the founder of DIARRABLU. I see art in numbers and shapes and patterns, and DIARRABLU was the place where I could merge those interests and create something tangible. My background is in mathematics. I never studied fashion or art. It's kind of something that's just always had in my heart.

I am not a traditional designer. I don't even know the rules, so I break them all the time. And I think that's what makes my work special. I have been to... Oh, sorry. You know I'm a designer. I can only think for, like, 2 seconds. My name is Mimi Plange, and I'm a fashion designer. And I'm here in Gorée Island for the 20th anniversary of Adama Paris' Dakar Fashion Week. I think that I'm learning a lot more about the traditions of Senegalese fashion, which I didn't know the specifics of certain things that they were into as a culture. I think the women tend to love a lot of colour. The leather work in Senegal is, like, crazy. They do amazing bags, and that's what we do too. So I see a lot of similarities there. Hi, I am Adama Paris. I'm a fashion designer from Senegal, and I'm also the founder and the producer of Dakar Fashion Week. When it was 20 years ago, and yes, I was a young girl and I had this dream of bringing together and giving a platform to young African designers.

My aim was to bring and to show African fashion to the world. So my name is Adebayo Oke-Lawal and I'm the Creative Director of ORANGE CULTURE NIGERIA. I'm looking forward to seeing all the designers, I guess, showing. Just seeing people from Ghana, from South Africa, seeing their work, and also just the united spirit of all of us just being here together, working together, celebrating together. I think that that's just so beautiful. Adama has created something so unique and given people so much hope and dreams. Like, if you're a model, Fashion Week is where you start to feel like you're credible. If you're a makeup artist, Fashion Week is where you start. And having that place to go to and not only meet other like minded individuals, but feel celebrated and feel valid and a lot of press comes to that, is something really important for us. My name is Pharrell Williams. I've had the honor and the privilege to be invited to the Chanel show here in Dakar, in this beautiful continent called Africa.

This building was the Ancien Palais de Justice. That's my English accent for French wording. But yeah, it's my distinct honour and pleasure to be here. My name is Malick Bodian. I am a model and photographer, and I'm from Senegal. I've been doing some documentary and fashion photographs for Chanel. As a model, when I travel, sometimes with show, I barely see this kind of relationship, which I found very, very interesting for the country. I think this show is not only for Senegal, it's also for Africa.

You know, it's a very good thing. You know, it's going to give so much hope to so many designers that always dream this and that never thought it will be possible. What I was interested in when reading the book was that they are starting a collaboration with an internship residency-type programme with their 19M. So it's not just a show. It's like a long term partnership and collaboration in the creative space. And I think more of that would be really beautiful because the stories we have to tell are already here. There were as well, a few people that were worried, that didn't understand why Chanel was coming or the 19M coming, what conversation was going to happen, how is the dynamic? And I also know people that chose not to go to the show and not to collaborate. So that as well exists. My position is that it's something that is good for the creatives and for the business of the creatives. And as long as the collaboration is horizontal, I don't see why Dakar cannot collaborate with any other city of the world.

I'm giving you long answers, right? It's good? I speak a lot. What I'm wearing here is an interpretation of a djellaba. It's a masculine piece. Usually it's worn for prayer. Yeah, I just wanted to take that shape. And really this was made for me. I think what makes me proud to be an African designer is really just having the ability to shape my own narrative. I think for many years we've always been told who we are and how we're supposed to present ourselves. But being able to present myself and choose how my narrative is, sort of, exported to the world, I feel like is such a privilege, and I'm thankful for that. This is one of my favorite prints called Tukki Noir. And Tukki means to travel in Senegal or to voyage. The idea of traveling for campaigns around the world and showing our own Africa in different places, I call it: African Voyage.

And this was just celebrating random paths that we take to get there. Again, using math and geometry to create it. Let's wait, because it's the... There are people who live upstairs and I think they are cooking. So we just have to give them, like, five minutes. So fashion and creativity is at the heart of how Senegalese women celebrate themselves every single day. It's like a form of self love, I would say it's our sixth love language. This is the steaming room and this is the workshop. Peace be with you. How are you? I want them to feel free. I want people to feel free when they wear DIARRABLU. I want them to feel happy. It's like the happy clothes, the prints, the memories, and that's what I want.

It's like, I create this beautiful thing with so many different parts of my identities and experiences and to see people wear it around the world as they travel and celebrate meaningful moments, it means so much to me. Gorée is just like part of our story, part of our Black story, and we share that with lots of Black people in the world. And I think that 20 years of celebrating fashion and expression of art, we needed to kind of wipe that sore and difficult past and just to put joy and colour and beauty and to bring back to us to just own back what they took from us. Gorée Island was like a port for a lot of slavery in the past. And I think that being able to be here and celebrate excellence in so many ways and being here to celebrate all of the different voices that have been able to come through all the adversity and still shine and still create with very little.

For me, it just... It shows like the trajectory and the growth and the opportunity and everything that lies within this continent. It's fair to say Gorée is an island that has a special thing the whole world comes to see it So it also allows us to be able to communicate with the whole world and on the spot, and also share our history. I had a conversation with Karl years ago when he was alive about bringing the house to Africa for the first time.

And so it was this group effort, but it was a dream of mine to be somewhere here. And I'm so glad that they chose Senegal, because the history of how it was once occupied by the Portuguese, by the Dutch and by France, obviously. I thought it was incredibly poetic and symbolic that a French maison decided to come back here and not just like with opportunity of equality, but actually something better, like equity, to really work with the people here. Because the soil is rich, the culture is rich, and the history is rich. To me, creating is just an extension of my life. I was lucky enough to have my parents that were diplomats. So from a young age, I travelled the world with them, and I saw a big designer fashion show, and I was like, "Mum, I want to do that".

She was like, "Oh, you want to be a model cos you skinny?" I was like, "No!" The end goal was always to own our ecosystem and to own our story and to to just do us by us, for the world. The Western validation question is something that is not relevant for my generation, and it's something that we don't really care about because it's just not natural to have so much focus on to how you are seen, how you are perceived, and trying to debunk those stereotypes all the time. It's a huge loss of energy and it's a huge loss of just... time. That time can be invested into working on what we are trying to achieve, how we are trying to excavate some tools from our own Senegalese African archive to just build the future that we envision.

There's an obsession for the city, there's an obsession for Senegal's immaterial heritage, and there's an obsession for worlds we cannot see, for the invisible, for the mystical, for initiatory journeys. I'm very much gravitating around those three poles. I wouldn't see why anyone would not, as a luxury brand, want to come to Africa because it's the youngest continent that's here. And Dakar itself, being French speaking, there's a background connection to France. It makes sense. Their presence here is going to definitely bring awareness of what is happening here. I'm looking forward to more relationships, more collaborations, and I'm hoping that Chanel will find time to work with the lot of us here as well. Say, if anything, maybe that's it.

If you truly believe in something and you truly care about it, and you can do it, and especially being African, being Black, being Muslim, I mean, I have every single title that makes me a failure by default in society, if I look at how we are categorized. Yet I'm going to make it. And I think that's the legacy I want to make. That those titles don't really stop you, but those different facets of your identity can really enrich whatever you make out of it. That it's still true to me. A proud Senegalese woman who grew up here in Dakar and who lives in Silicon Valley, who can use math and algorithms to create clothes made by artisans here that are sold around the world. Like, it's a story that just makes no sense at all when you put it together, but it actually does. And that's the kind of stories I want to tell. One day I watched a movie, and it's about this young writer, and he was like, "I'm going to go travel to this country to make great books".

And I remember his father telling him, "Why are you going away?" "You have so much stories here". And I think for a lot of young designers and artists, it's confirmation that they don't need to travel so far to make beautiful things and inspire things. I'm trying to leave not only a legacy, I'm trying to teach this young generation, because when I started, I was a young girl with a dream. I just want people to believe in African dreams. It is our time, and it's been our time for a long time. I think that once it grows here, I think that then it needs to move overseas and start becoming more global and bringing other people into our stories. Because it shouldn't just be for us, it should be for the world. And I do hope that it does inspire people to realize that we are enough again. But I think the long term solution really is training, and it's opportunities for those people to feel like they can earn a living wage being an artisan, that they can be celebrated, they can be valid.

One of the most powerful resources that the continent of Africa has is untapped potential. In West Africa, in Senegal, most talented people, they all left. Since I've been in Europe, I always dream to come back and do something here and work here. And it gives me a lot of hope and a confirmation of a hope that I had, of there's a future here that we can build, like, especially as the young people, instead of always seeing hope somewhere else.

We know what's happened before, but what we want is to write our story. It can be beautiful, it can be dramatic, it can be anything. We just embrace the journey. Thank you very much.

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African food || Dzorwulu. Ghana ||Travelling Mantra || Ghana Part 7

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We have to eat this, We don't get anything else here. There is no option for vegetarians. Food is not very expensive in Ghana if you eat in local restaurants. Vah bahut achchha khaana banate hain She is the one who makes very delicious food. The selling price is the same as the Indian price. Principles always beat children. Guddu brother used to eat this a lot in Nigeria, miss you Guddu brother. Look at the store here. You get only this type of product, this has become a business here. This is a Neema market, you get all the masala items. It is just like Kara Bhabli market in Delhi.

Private taxis also work in Ghana, Accra. Uber, Bolt and Yango. These 3 apps work here. You can book a taxi from these apps. Booking a taxi is better because, if you don't have locals with you, these taxi people will keep on taking you on a round. If you have a local with you, he will take you in a local shared taxi, in which we came today morning. Thank you. He took 10 CEDI which is 100 INR. I saw a local restaurant today morning. We have come here to eat in that restaurant. We will eat some local food. I have taken the food, rice and chicken. We have to eat this, we don't get anything else. There is no option for vegetarians. I will eat this food. I met a new friend again. Hello. Bye. Thank you. Bye bye.

We ate the food. The bill was 500 INR. It was for 2 people, my friend had also ordered. Food is not very expensive in Ghana if you eat in local restaurants. The local food is good, you can eat here. There is no smell or anything like that. For 200 INR that is 20-25 CEDI is the cost for 1 meal, you can have in the local restaurant and the food quality is good. There is extra for drinks, a lady was sitting here. She wanted drinks, I gave money to her also. The weather is very hot. We will go from here and take rest in the room.

We will go out in the evening. This is Ghana. You find people playing football in the streets. The football team of Ghana also plays very well. He is making stunts. This is a playground. People play football here. There is also a school. Ok take. Sab lelo. Indians and Ghana people are friends. Thank you, brother. The name of the school is 'Mother and Child' We have to walk carefully on the road. You should always walk in the opposite direction. The car will hit you in the back because there is no footpath to walk here. Be very careful while walking on the road. Kya mujhe andar jaana chaahie? Dhanyavaad Namaste.

Namaste, Assalaam Vaalekum. Walakum Aslam. Kya haal hai? Main achchha kar raha hoon. Tumhaara kya haal hai? Main bhee bahut achchha kar raha hoon. We are in the public taxi now. I am here to go back to my area. We have left the place. The people of Ghana are very good. Ghana is a very good place but it is better if you have a local with you. I got into problem in one or two places. I had a local with me so he handled the situation. The weather is very hot. Main Jablu ja raha hoon Aap kya karate ho? Main plumber hoon.

Accha. Kya karate ho bhae? Tumhaaree shirt bahut achchhee hai. Dhanyavaad. Achchha rang hain. Rang bahut achchha hai. Yah aap par accha lagtha hai. Aap kya karate ho? Main ek Video editor hoon. Main bhe Video editing karata hoon. On YouTube. They tie children on the back. Children also will be very comfortable in the back. The plumber got down, and he has come. Aap kya kaam karate hain? Main ek driver hoon. Aap driver hain lekin aap car nahin chala rahe hain? Aaj meree chhuttee ka din hai. Main chhuttee ka lutph utha raha hoon. Kahaan ja rahe hain? Main Jablu ja raha hoon.

Main bhee Jablu ja raha hoon. Ghana ke log bahut achchhe hain. Bye. My stop came, I have to get down. Thank you, brother. Bye-bye, thank you. The cost of a shared taxi was 3 CEDI per person The fares will be different for different places. It was not very expensive. It will be just 30, 40, 50 INR You can travel in Accra for very cheap. This is Jablu area in Accra. Ye kya hai? Bread? Aap ise kis naam se pukaarate hain? We call it Buffet. It looks like a bun. Kya tum chaahate ho? Main ise baad mein khaoonga main yaheen rah raha hoon.

Kya yah aapakee bhee dukaan hai? Kya ve ise phir se kholenge? Ve kal is dukan ko kholenge. Ise kal kholenge. Accha. Some shops have already been closed. It just 3:15 pm. Mujhe lagata hai ki unhonne aaj shop ko nahin khola hai. Shaayad ve ise phir se kholenge. Construction is going on in Ghana. This is their shop in the Jablu area, they are playing cards. Let's play. Are you playing without money? Haan ham aise hee khel rahe hain. You are you doing a friendly game? Yes, we are doing a friendly game. I don't know what game they are playing. Hamesha vahi jeet raha hain. Vah champion hai. Theek hai bhaee dhyaan rakhana aapaka din shubh ho. Aap se mil kar achchha laga. Dhanyavaad. There are big potholes. They have put these tyres for safety. Suleman brother, kya kar rahe ho? We have come back to the homestay. This is the house of my friend. He is not there in Ghana. He was in Ghana for the past two years.

Thank you so much, my friend. I am staying here very happily, the house is very good. It is 6 in the evening. We have come out to explore the local places. The time difference between Ghana and India is 5 hours 30 mins. Ghana is 5 hours 30 mins back of India In Ghana it is 6 in the evening, in India it will be 11.30 pm. The weather looks very good. This is one of the roads for going out.

This is another road which directly goes to the main road. Now, we are going in this road. We went in this road this morning. Now, we will go from this road. All the cats there are very scared because people eat cats. The cats are very scared. As soon as I take left from the road, this is Jablu Junction There is a bus stop here. Brother thank you so much, see you tomorrow. Take care, bye bye. He also has a channel, 'Faka everywhere'. If you want to see Ghana, you can have a look at his channel. Brother, how are you today? I have to tell you something. I exchanged my currency yesterday near the bus stop. For $1, I got 7.7 CEDI. But here, I am getting 8.10 CEDI for $1 1 CEDI is equal to 10 INR.

Thank you so much, brother For $100, I have got 810 CEDI. If I had done it near the bus stop, I would get only 770 CEDI. There is one more update for you. You get a SIM card for 10 CEDI which is 100 INR. You also get 1GB of data for 100 INR. At the border, I got a sim card for 20 CEDI and 15 CEDI for 1 gb data. He has taken 15 CEDI extra. This is very common in the borders. This is a bus stop here. She is the girl who makes Indomie. She is the girl who makes Indomie. Delicious Indomie girl. Make one Indomie for me. Make 1 Indomie me for me with egg.

Chicken mat daalo mujhe keval anda chaahie. Hello, my dear. Keemat koee phark nahin padata ek achchha vala banado. This is called Indomie it is consumed a lot in Africa. In all the countries where I have been to. I will try to avoid chicken from now on. They will have kept this like chowmein. It is just like chowmein, African people eat this a lot.

The girl who makes delicious Indomie. This is the bus stop. She is a cute girl. These people are my friends. It will take some time to make friends. They are all my friends. Bye bye, Thank you. You get Indomie for 15 CEDI which is 150 INR. It is budget-friendly and if you want to eat something for cheap it's very good. I also ate this for 2 days. You also get Chicken Rice. Hello aunty how are you today? She is selling chicken.

This is very good, yesterday I ate here. Ok brother bye. There are selling ice creams. There is one more thing here, if we take food, I have visited more than 4 countries in Africa. You can take the food and sit in a local restaurant. You can take a drink and start eating there. Nobody tells anything here. When I went to Nigeria, I was scared. I thought the shopkeeper will make us go out. But my friend told this is quite common here. There is a very good restaurant nearby but we took food from a street restaurant. We will sit there and eat. Nobody will tell anything. There is a bar. There are arrangements done to sit in a bar. You can take a Whisky drink and eat there. This is the bar where you can take whisky and eat inside this bar. Main tumhen yaad hu? Kal tum yahaan aae the. Main aaj bhee yahaan aaya hoon. This is the bar. She is an aunty, I know her. She will clean this place. They also give in the peg and also in bottles.

Alcohol is very cheap here. I will tell you the prices of some alcohol. The Black and white is 200 INR. This is 650 INR. This is 350 INR Royal Challengers is 250 INR. I don't know whether it is cheap or not, I have told you the rates. This is Johnny Walker 2500 INR. I guess all the prices here are the same as Indian prices. This is Indomie. It is 6 in the evening and it has become dark. This was a day in Accra, Ghana. I will take a break, I will meet you in a new video. Till then take care. Namaste, Thank you, Jai Hind. .

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Havana Club Rumba Sessions : La Clave – The Drum – Episode 2 of 6

https://www.youtube.com/embed/pV9EnLiNg5U

I involved Cuba to know every little thing about rumba. It is a complex topic. And also if I ever before desire to obtain there, I'' m going to need to go back to essentials. And it starts with 2 wooden sticks. The only thing that will never ever alter in rumba is the clave, due to the fact that the clave is the trick. All Cuban music originates from it. Cuban songs in general is clave Rumba without a clave. is unthinkable. The clave is the rhythmic pattern that guides the rumba from beginning to end. All the other instruments, the vocals, the vocals, and also the method the drums interact with each other, it '' s all based upon the clave.The rumberos bring the clave in their hearts. Fail to remember trumpet sections as well as complex arrangements. This songs is of raw rhythmic intricacy. This instrument reverberates detailed, as well as we can just feel it. It comes from a tree, as well as the tree is a living thing. It has a skin, and also the skin lives also, due to the fact that it comes from a pet. It is therefore a mix of skin, tree and also somebody. It ' s the perfect'combination. That'' s why it makes you really feel a lot. These three points offer power and power. I think the essence of percussion is energy. We understand that the tool is a tube covered with a skin. It is a way of moving power. The method you play with energy in time. That'' s percussion. It is the component that conjures up the tune ...

The dance ... it is the major guide, the physical expression ... of the wishes ... of the objectives ... It is a means of sharing our society. In typical rumba, everything begins with the clave. This is the trick. This is what keeps every person in time. Then we include the kata, whose shuffle is over every little thing, a little bit like the hi-hats. Then come the three percussions: The quinto, the 3-2 ... and also the tumbadora. The last 2 play basic rhythms, which in themselves are not very interesting. But grouped with each other, they engage as well as develop an ariose groove on which the quinto can improvise and also play solo. Add the kata to the mix, as well as you'' re collection. On my means to Matanzas, Crispin brought me to La Marina, one of the areas most closely linked to the birth of rumba. In the shanty towns, on the old docks, it'' s a remarkable area. It'' s unlike any type of other location I'' ve seen.Crispin had actually taken us there to satisfy his friend Kolé and also pay attention to some actually typical tunes. The rumba in the house. Not traditional rumba, homemade rumba. When it involves homemade rumba, a few of the tools looked homemade as well. However it ' s all part of the tradition. As not to damage it.Rumberos are lively. They can also play on the wall. Due to the fact that in the end, They will play on the wall. When I was bit, when a rumbero died, they used the coffin.They were playing rumba straight on the coffin. Regarding anything, you understand? The rumba is sublime! Mentally rich, yet very simple at the same time. With very little, you can do excellent points. Kolé is the nobility of the rumba. As well as within, he showed me family members prizes. He was the direct offspring of among the owners of the Muñequitos de Matanzas. -That is Chacha?- My great-uncle! Chachá is the beneficiary to the earliest batá percussion set in America . They are called" Aña Bi", which indicates" Aña was birthed". As well as Aña is the Orisha of audio, the Orisha of batá. As Well As these Percu Aña Bi were made by an African, born in Africa, transferred in chains to the Americas. And also today Kolé is their guardian. Kolé, show him. These percus more than 200 years of ages. This is just how we interact with Olofin. By noise, we chat to Olofin, via Aña.These are fabulous percussions. It is hefty. All would certainly have danced on these percussions as well as would have played them. So they consist of the spirits of a a great deal of individuals as well as ... Chano Pozo existed. In this home, right below. -Actually?- Yes, he involved visit. There is also a publication. Chano Pozo estuvo en esta casa con Chachá. And right here we are, so thank you very a lot . I was thrilled to come. These percussions are undoubtedly. There is a spiritual aspect to all of this. In the next episode, we will see howExactly how and we will certainly have the opportunity of being obtained within the African secret culture. of Abakua. The rumba at house. They can even play on the wall surface. Since in the end, They will certainly play on the wall. The rumba is superb! Kolé is the aristocracy of the rumba.

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Ruger - Girlfriend (Official Video)

https://www.youtube.com/embed/7M2Gps9xR8g

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How to Prepare to Play the Djembe | African Drums

https://www.youtube.com/embed/53tnS3Uonh4

Speaker 1: Before we also play the drum, we need to learn exactly how to hold the djembe drum and also what position to be in so that you can fit to play for an extended period of time. The very first thing I do is I turn the drum away from myself to make sure that the sound can appear. If the drum is level, there'' s no noise. I turn the drum away from me, however it'' s going to fall, so I need to delicately place my legs around the drum.'It ' s not an upper leg master. You wear'' t need to sit here and also press it.You ' ll make yourself tired. You wish to delicately cradle the drum. You can see my knees hold the drum as well as my legs occur the drum to ensure that it ' s comfy and also that the drum isn ' t going from side to side. I ' m not leaning from side to side. It ' s simple', kicked back. I could rest similar to this for a long period of time. Speaker 2: Additionally, when you hold the drum, you need to relax. If you'' re not loosening up', you ' re not mosting likely to obtain a much better noise. The method I'' m sitting, similar to this, I ' m much more loosened up, much more comfortable. If I ' m much more relaxed, my sounds are mosting likely to appeared. Speaker 1: What regarding your arms and also your shoulders? Audio speaker 2: Your arms too. Make certain you put on'' t hold your arms when you begin to play the drum, since if you hold them like this you'' re not mosting likely to have a. far better sound.The more you relax your feel and also your body,. because there'' s a body link with the music. The method, you see exactly how I'' m relaxed right here, I'' m. resting like below, I'' m relaxing. By doing this if I want to strike the bass, I only. That means I'' m relaxing. You ' re moving your arms. You'' ll notice that my body is still.I ' m not going side to side, but I'' m training. to play the djembe. It ' s not an upper leg master. You don'' t have to sit here and also capture it.You ' ll make on your own tired. I ' m not leaning from side to side. The way, you see just how I'' m relaxed right here, I'' m. sitting like below, I'' m relaxing. You ' re relocating your arms.

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